With the world premiere of Terrence Malick‘s Song to Song happening at SXSW on Friday, March 10th and the film opening commercially a week later, it might be time to once again post a transcript of a phone conversation I had with Malick 21 years and 8 months ago. The date was 10.25.95 (or so I recall) around 11:35 am.
I happen to be one of the only journalists to have had any kind of conversation with Malick since he went into his Thomas Pynchon withdrawal phase in 1979 (right after the release of Days of Heaven) and became a phantom-like figure whom journalists couldn’t get to under any circumstance.
In this context speaking to Malick on the phone was like snapping a photo of Bigfoot. It was a half-pleasant, half-awkward, mostly meaningless conversation, but at least he picked up the phone.
Malick had been staying with producer Mike Medavoy, who wound up producing The Thin Red Line, but Medavoy was leaving for Shanghai and Malick would be staying elsewhere, so I called Medavoy’s home to get a forwarding number. A cleaning woman answered and said Medavoy was out, but that Malick was nearby. She asked me to hold…
Malick: Hi.
HE: Hi, Terry. This is Jeffrey Wells speaking.
Malick: Hi.
HE: And uhh…I was just talking to Mike last night and he said, uh, you might be leaving today and I wanted to see if I could speak with you about an article I’m researching. It’s for Los Angeles magazine and my editor…he worked on that piece about ten years ago with David Handleman for California magazine. It was called ‘Absence of Malick.’
Malick: Yeah.
HE: I don’t know if…did you happen to read it?
Malick: No, I…uhnn…
HE: Anyway, I’m doing this piece and trying to sort things through here. About what’s going on with…well, to start with, The Thin Red Line and that rumored BAM stage production of “Sansho the Bailiff” and…I’ve wanted to speak with you about it, and now that I’m speaking with you I feel…well, I feel nervous.